"clothing retail store BUYMA recently produced a creative commercial that strictly wants you to buy their clothes. Since Japanese TV programs are legally obligated to cover sensitive body parts, BUYMA uses drones to fully censor two professional belly [sic] dancers while they dance their routine naked."

[This Buyma ad which was created for television clearly plays with concepts around censorship - both in the context of Japanese broadcast media and perhaps more importantly in the context of social media where it will likely have most traction. In doing so the ad playfully references contemporary restrictions in place on sites such as Facebook.]

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"Luis Buñuel's The Phantom of Liberty was quickly dismissed upon its release in 1974. Not only did it have to contend with the lingering success of 1972's similarly themed but significantly less abstract The Discreet Charm of the Bourgeoisie, but it was quickly followed by the dreamlike, bi–polar romantic entanglement of the director's last film, That Obscure Object of Desire. Like Discreet Charm, the plot–free Phantom of Liberty is a patchwork of comedic sketches and sight gags through which Buñuel ravages a complacent European culture and the various sexual hang–ups and historical and cultural disconnects of its inhabitants. This heady, almost off–putting masterwork isn't particularly easy to decipher (maybe we aren't meant to), which is why it's best to approach it as a literal comedy of manners.

Films structured around daisy chains of dysfunction are a dime a dozen; most, though, are as tiresomely long–winded as they are content with their own strained circularity. This isn't the case with Phantom of Liberty, which begins with a shot of Goya's 1808 masterpiece 'The Third of May.' The painting depicts Napoleon's army executing a group of faceless Spaniards, and via a reenactment of this struggle, Buñuel depicts how one of Napoleon's captains tries to defile the monument of Doña Elvira only to be smacked on the head by the moving arm of the statue of the woman's husband. (He later intends to sleep with the woman's corpse, and when he opens her coffin, he's amazed by how her beauty has been preserved.) It's the first of many sight gags in the film, each and every one as startling as they are perversely funny. All these moments are possessed by a sense of shocked wonderment and discovery, and they all more or less evoke fragile pasts and characters trying to reconcile their historical detachments."

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"'If you think of culture as just kind of the sum total of the relationships that colleagues have with each other, the thing about email is, it does literally nothing to build those relationships and is more likely to actually damage whatever connective tissue there is in the first place,' says Bryant.

Maybe it's time to pick up the phone. Or better yet, try stopping by someone's office to have a quick chat. It's amazing how much more polite and understanding people are when they're not hiding behind a keyboard."

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"Physical constraints are closely related to real affordances: For example, it is not possible to move the cursor outside the screen: this is a physical constraint. Locking the mouse button when clicking is not desired would be a physical constraint. Restricting the cursor to exist only in screen locations where its position is meaningful is a physical constraint.

Logical constraints use reasoning to determine the alternatives. Thus, if we ask the user to click on five locations and only four are immediately visible, the person knows, logically, that there is one location off the screen. Logical constraints are valuable in guiding behavior. It is how the user knows to scroll down and see the rest of the page. It is how users know when they have finished a task. By making the fundamental design model visible, users can readily (logically) deduce what actions are required. Logical constraints go hand–in–hand with a good conceptual model.

Cultural constraints are conventions shared by a cultural group. The fact that the graphic on the right–hand side of a display is a 'scroll bar' and that one should move the cursor to it, hold down a mouse button, and 'drag' it downward in order to see objects located below the current visible set (thus causing the image itself to appear to move upwards) is a cultural, learned convention. The choice of action is arbitrary: there is nothing inherent in the devices or design that requires the system to act in this way. The word 'arbitrary' does not mean that any random depiction would do equally well: the current choice is an intelligent fit to human cognition, but there are alternative methods that work equally well.

A convention is a constraint in that it prohibits some activities and encourages others. Physical constraints make some actions impossible: there is no way to ignore them. Logical and cultural constraints are weaker in the sense that they can be violated or ignored, but they act as valuable aids to navigating the unknowns and complexities of everyday life. As a result, they are powerful tools for the designer. A convention is a cultural constraint, one that has evolved over time. Conventions are not arbitrary: they evolve, they require a community of practice. They are slow to be adopted, and once adopted, slow to go away. So although the word implies voluntary choice, the reality is that they are real constraints upon our behavior. Use them with respect. Violate them only with great risk."